Logan (film)

I suck at this! Bad shit happens to people I care about! You understand me?

Logan is a 2017 American superhero film, set in the near future, in which a weary Logan cares for an ailing Professor X in a hide out on the Mexican border. But Logan's attempts to hide from the world and his legacy are up-ended when a young mutant arrives, being pursued by dark forces. The film, distributed by 20th Century Fox, is the tenth installment in the X-Men film series, as well as the third and final Wolverine film.

Nature made me a freak. Man made me a weapon. And God made it last too long.

NOT OKAY!

Stopping Laura as she prepares to slash out at a shopkeeper who catches her stealing.

[To Laura] Hey, I never asked for this! Alright, Charles never asked for this, Caliban never asked for this– And they are six feet under the ground! Now, I don't know what Charles put in your head, but I am not whatever it is you think I am, okay?

My goal was not to end mutant kind, but to control it. I realized, we needn't stop perfecting what we eat and drink, but we could use that as part of us to perfect ourselves. To distribute gene therapy discreetly through everything, from sweet drinks to breakfast cereals. And it worked. Random mutantcy went through the way of polio.

A man has to be what he is. Joey. Can't break the mold. There's no living with the killing. There's no going back. Right or wrong. It's a brand. A brand that sticks. Now you run on home to your mother. You tell her everything's alright. There are no more guns in the valley.

Charles Xavier: I always know who you are, It's just sometimes I don't recognize you.

Caliban: A year ago– you asked me to help you, and– God knows, I've tried– But I can't help you, Logan, not really– if you're not gonna talk to me. I hear you at night; you're not sleeping; you don't wanna talk about that– Or the booze you're drinking– Or the pus you're wiping away from your knuckles. Or the blood I wash from your clothes. Or the– fresh wounds in your chest; the ones that aren't healing– And I'm pretty sure you don't wanna talk about the fact that you can't read the label on that bottle– [Logan looks bewildered then takes the bottle to try and read it] It says 'Ibuprofen'. [In a fit of anger, Logan smacks Caliban's drink from his hand, shattering the cup] That was my favourite mug.

Logan: [seeing Laura read an X-Men comic book] You read these in your spare time? Oh yeah, Charles, we got ourselves an X-Men fan. You do know they're all bullshit right? Maybe a quarter of it happened – but not like this. In the real world, people die! And no self-promoting asshole in a fucking leotard can stop it!

Charles: Logan.

Logan: This is ice cream for bed-wetters!

Charles: Logan–

Logan: That nurse has been feeding her some grade-A bullshit.

Charles: I don’t think Laura needs reminding of life's impermanence.

Laura: You had a nightmare.

Logan: Do you have nightmares?

Laura: Sí. People hurt me.

Logan: Mine are different.

Laura: ¿Por qué?

Logan: I hurt people.

Laura: You are dying. You want to die.

Logan: How do you know?

Laura: Charles told me.

Logan: What else did he tell you?

Laura: To not let you.

Logan: [Indicating he plans to leave after reuniting Laura with the other mutant children] Everything you asked for you got. And It is better this way – because I suck at this. Bad shit happens to people I care about. You understand me?

Laura: Then I'll be fine.

[Logan has been impaled on a tree and is dying]

Logan: Take your friends and hide.

Laura: No.

Logan: They'll keep coming. Listen, you don't have to fight anymore. Go. Don't be what they made you... Laura...Laura...

We’re finding all these characters in circumstances that are a little more real. The questions of ageing, of loneliness, of where I belong. Am I still useful to the world? I saw it as an opportunity.

Obviously I have a connection and a fondness for Johnny Cash, and his tone and his message and his music. But the real driver in all these decisions is trying to separate ourselves, in an accurate way, from the other superhero movies. We think we’re going to deliver something a little different and we want to make sure we’re selling audiences on the difference. Sometimes even when a movie’s a little different, the studio’s trying to market the movie just like all the others. [Cash's] music, in a way, separates us from the standard, bombastic, brooding orchestral, swish-bang, doors opening and slamming, explosions kind of methodology of some of these movies. … Hugh and I have been talking about what we would do since we were working on the last one, and for both of us it was this requirement that, to be even interested in doing it, we had to free ourselves from some assumptions that had existed in the past, and be able to change the tone a bit. Not merely to change for change’s sake, but also to make something that’s speaking to the culture now, that’s not just the same style — how many times can they save the world in one way or another? How can we construct a story that’s built more on character and character issues, in a way as if it almost wasn’t a superhero movie, yet it features their powers and struggles and themes? … We are in the future, we have passed the point of the epilogue of Days Of Future Past. We’re finding all these characters in circumstances that are a little more real. The questions of ageing, of loneliness, of where I belong. Am I still useful to the world? I saw it as an opportunity. We’ve seen these characters in action, saving the universe. But what happens when you’re in retirement and that career is over? … I think this movie is about family, and sticking together, and about making connections in a world in which our characters might feel very alone.